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Contents X.·~ •'' Pres
.. Australian Institute for the Conservation of Cultural Material (Inc.) ISSN 1834-0598 No 129 November 2014 ;fi . ~I· · /'!. Contents x.·~ •'' Pres . ~ : 3 iden t's Report .' t~':. 5 Publications update it \~ AICCM Student of the ,, 7 i· Year Awards 2014 i 8 Review - ICOM-CC " 1 7'h Triennial - Conference t 11 Review - IIC Hong Kong Congress 13 Environmental Guidelines- IIC and ICOM-CC Declaration :. ' 14 R~v i e w - iPRES20 14: 11 ehInt ernational Conference on Digital Preservation 15 Review - Conservation of Phot ographs Mas terclass ' 16 Review - Sy mposium and Workshop 18 Na tional Trust ACT Iiio., He ritage Awards 2014 19 Open Palace .~-•. - Programme \. 20 Workshop: Recons truction of ~. ... cloth case bindings 21 SIG News 22 The Social Pages 23 Division News 24 The Retiring Type: Farewell, lan Ba tterham 25 Profess ional News Masterclass: Conservation IIC Hong Kong Congre Open Palace program of Photographs STERILISATION AS A CONSERVATION TOOL Around the world, museums, universities, galleries and libraries are increasingly using industrial sterilisation techniques, such as irradiation, to strengthen their protections against mould, pest infestations and bacteria. Irradiation is widely used in the medical, pharmaceutical and agricultural industries and is at the front line of Australia's quarantine system. lt is a physical means of sterilisation whereby products are exposed to gamma rays. These rays act as a source of ionising energy that eliminates bacteria, pests and other pathogens, while having minimal impact on the treated item. STERITECH BENEFITS OF IRRADIATION Steritech is a member of the Australian Institute for the Conservation of Cultural Materials and we would welcome Steritech is a proud Australian family owned company and the Steritech has worked with a number of major Australian the opportunity to discuss opportunities to help Australian leading contract sterHisation processor in the Asia-Pacific region universities and State libraries to help manage pest and mould conservators protect their materials. -
Queensland Art Gallery Board of Trustees Annual Report 2015–16
QUEENSLAND ART GALLERY GALLERY QUEENSLAND ART BOARD OF TRUSTEES ANNUAL REPORT 2015–16 REPORT ANNUAL OF TRUSTEES BOARD QUEENSLAND ART GALLERY | GALLERY OF MODERN ART QUEENSLAND ART GALLERY BOARD OF TRUSTEES ANNUAL REPORT 2015–16 REPORT OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES 22 August 2016 The Honourable Annastacia Palaszczuk MP Premier and Minister for the Arts Level 15, Executive Building 100 George Street BRISBANE QLD 4000 Dear Premier I am pleased to submit for presentation to the Parliament the Annual Report 2015–2016 and financial statements for the Queensland Art Gallery Board of Trustees. I certify that this annual report complies with: • the prescribed requirements of the Financial Accountability Act 2009 and the Financial and Performance Management Standard 2009, and • the detailed requirements set out in the Annual report requirements for Queensland Government agencies. A checklist outlining the annual reporting requirements can be found at page 70 of this annual report or accessed at qagoma.qld.gov.au/about/our-story/annual-reports. Yours sincerely Professor Susan Street, AO Chair Queensland Art Gallery Board of Trustees CONTENTS PART A 4 INTRODUCTION 4 Vision 4 Mission 4 Principles 4 Queensland Art Gallery | Gallery of Modern Art 5 Queensland Art Gallery Board of Trustees 6 CHAIR'S OVERVIEW 8 BACKGROUND 8 Government objectives for the community 8 Strategic Plan 2015–19 9 Operational Plan 2015–16 9 Operating environment 11 2015–16 AT A GLANCE 12 OUTCOMES 12 Performance measures 13 Strategic objectives 25 Acquisitions 46 Exhibitions, loans and publications 57 Statistical summary 58 GOVERNANCE 58 Management and structure 65 Risk management and accountability 66 Human resources 67 GLOSSARY 68 SUMMARY OF FINANCIAL PERFORMANCE 70 COMPLIANCE CHECKLIST PART B 71 FINANCIAL PERFORMANCE 04 Queensland Art Gallery Board of Trustees Annual Report 2015–16 INTRODUCTION INTRODUCTION Vision To be the leading institution for the contemporary art of Australia, Asia and the Pacific. -
Annual Report 2018/2019
Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership. -
Art Gallery of New South Wales 2015 Year in Review
Art Gallery of New South Wales Art Wales South Gallery New of ART GALLERY OF NEW SOUTH WALES 2015 2015 ART GALLERY OF NEW SOUTH WALES 2015 2 Art Gallery of New South Wales 2015 Art Gallery of New South Wales 2015 3 Our year in review 4 Art Gallery of New South Wales 2015 Art Gallery of New South Wales 2015 5 We dedicate this inaugural Art Gallery of New South Wales annual review publication to the Australian artists represented in the Gallery’s collection who have passed away during the year. 8 OUR VISION 9 FROM THE PRESIDENT Guido Belgiorno-Nettis 10 FROM THE DIRECTOR Michael Brand 12 YEAR AT A GLANCE 14 SYDNEY MODERN PROJECT 23 ART 42 IDEAS 50 AUDIENCE 60 PARTNERSHIPS 74 EXECUTIVE 75 CONTACTS 80 2016 PREVIEW Our vision From its base in Sydney, the Art Gallery of New South Wales is dedicated to serving the widest possible audience as a centre of excellence for the collection, preservation, documentation, interpretation and display of Australian and international art, and a forum for scholarship, art education and the exchange of ideas. Our goal is that by the time of our As Australia’s premier art museum, 150th anniversary in 2021, the Gallery we must reflect the continuing evolution will be recognised, both nationally of the visual arts in the 21st century and internationally, for the quality of alongside the development of new our collection, our facilities, our staff, channels of global communication that our scholarship and the innovative increasingly transcend national ways in which we engage with our boundaries. -
Whitehorse Artists' Trail
The Artists’ Trail En Plein Air – In The Open The Artists’ Camp Moving On Artist Biographies Further Reading Contacting Council The City of Whitehorse Artists’ Trail celebrates a significant During the late nineteenth century, a small number of European Almost every Saturday, for some four years (1885–1888), a group of A country house at Eaglemont was an attractive alternative Auty, G. and P. Corbally Stourton, Galbally, A. and A. Gray (eds), Phone: 9262 6333 Tom Roberts John Llewelyn Jones: Australia’s Letters from Smike: The Letters Fax: 9262 6490 phase in the municipality’s artistic heritage. This brochure and master painters were teaching new painting techniques to young Melbourne artists raced to the Lilydale line to catch a steam train, to a tent at Box Hill, and by early 1889 the artists’ camp had Forgotten Painter (exh. cat.), Corbally of Arthur Streeton 1890–1943, 1856 Born Dorchester, England Email: [email protected] the interpretative panels located at various points along the trail artists in Melbourne. leaving behind the bustling metropolis for an idyllic weekend of been disbanded. Stourton Contemporary Art, Edgecliff, Oxford University Press, South 1869 Arrived in Melbourne New South Wales [1999]. Melbourne, 1989. NRS: 133 677 acknowledge the artists who painted regularly at the Box Hill camping and painting. (service for hearing impaired people) Tom Roberts (1856–1931) and became a member of the group, where the majority of the 9 by 5 1874 Enrolled at National Gallery City of Whitehorse, Heritage McCulloch, A., The Encyclopedia artists’ camp. Frederick McCubbin (1855–1917) following a chance encounter Alighting at Box Hill, now part of paintings were created. -
Danks News Final
Artworks where Resale Royalty is not applicable Artworks under $1,000 and so exempt from Resale Royalty Collectible Australian artists in this category include: consider works on paper including prints, smaller works, works by less mainstream or emerging artists, decorative arts Robert Clinch 1957 - Black and White 2008 suite of eight lithographs 19 x 20.5 cm each, edition of 40 These lithographs are available individually or in matching numbered sets. Troy Pieta Alice Ali Trudy Raggett Kemarr 1980 - Arrkerr 2007 synthetic polymer on carved wood height: 40 cm David and Goliath Empire Trudy Raggett Kemarr 1980 - Arrkerr 2007 synthetic polymer on carved wood height: 40 cm Richard III Alien Artworks where Resale Royalty is not applicable Deceased Artists who have been deceased for more than 70 years Collectible Australian artists in this category include: Clarice Beckett, Merric Boyd, Penleigh Boyd, Henry Burn, Abram Louis Buvelot, Nicholas Chevalier, Charles Conder, David Davies, John Glover, William Buelow Gould, Elioth Gruner, Haughton Forrest, Emmanuel Phillips Fox, A.H. Fullwood, Henry Gritten, Bernard Hall, J.J. Hilder, Tom Humphrey, Bertram Mackennal, John Mather, Frederick McCubbin, G.P. Nerli, W.C. Piguenit, John Skinner Prout, Hugh Ramsay, Charles Douglas Richardson, Tom Roberts, John Peter Russell, J.A. Turner, William Strutt, Eugene Von Guerard, Isaac Whitehead, Walter Withers Bernard Hall 1859 - 1935 Model with Globe oil on canvas 67x 49 cm William Buelow Gould 1803 - 1853 Still Life of Flowers c.1850 oil on canvas 41 x 50 cm -
Saffron Newey Sullied Sublime
1 Paper prepared for the Third Euroacademia International Conference Identities and Identifications: Politicized Uses of Collective Identities Lucca, Italy 19 – 20 June 2015 This paper is a draft Please do not cite 2 Sullied Sublime; Art History and Identity in the Post Internet era Saffron Newey Royal Melbourne Institute of Technology (RMIT University), Melbourne, Australia Abstract My PhD (Fine Art) research interrogates the artist’s role in the reportage of history and the impact this has on cultural identity. It too considers how historical artworks are represented in our Post Internet era. This paper focuses on two migrant, European painters who influenced the perception of a cultural identity in the newly colonised Australia between 1850 and 1890: Swiss-born, Abram-Louis Buvelot (1814-1886) and Austrian, Eugene von Gerard (1811-1901). Both have been posthumously honoured as fathers of the Australian landscape and, conversely, criticised for their misrepresentation of Australian history. The paintings of Von Gerard and Buvelot make a departure from the first colonial portrayals of the Australian pastoral which were mainly scientific illustrations. The period of landscape painting that followed featured a Eurocentric gaze that resembled more a Claude Lorraine than the local environment. Buvelot and von Gerard however, approached the landscape with an unprecedented naturalism and ambience. To those at home in Europe, this new Australian landscape would tell the story of a bushy Shangri La; a romantic narrative, indeed. And yet, these images of majestic mountains and harmonious farmland belie Australia’s wretched past - as a penal colony, the genocide of indigenous peoples, its harsh climate and burgeoning, unmanageable population. -
Pre-Raphaelite Brotherhood (PRB) Had Only Seven Members but Influenced Many Other Artists
1 • Of course, their patrons, largely the middle-class themselves form different groups and each member of the PRB appealed to different types of buyers but together they created a stronger brand. In fact, they differed from a boy band as they created works that were bought independently. As well as their overall PRB brand each created an individual brand (sub-cognitive branding) that convinced the buyer they were making a wise investment. • Millais could be trusted as he was a born artist, an honest Englishman and made an ARA in 1853 and later RA (and President just before he died). • Hunt could be trusted as an investment as he was serious, had religious convictions and worked hard at everything he did. • Rossetti was a typical unreliable Romantic image of the artist so buying one of his paintings was a wise investment as you were buying the work of a ‘real artist’. 2 • The Pre-Raphaelite Brotherhood (PRB) had only seven members but influenced many other artists. • Those most closely associated with the PRB were Ford Madox Brown (who was seven years older), Elizabeth Siddal (who died in 1862) and Walter Deverell (who died in 1854). • Edward Burne-Jones and William Morris were about five years younger. They met at Oxford and were influenced by Rossetti. I will discuss them more fully when I cover the Arts & Crafts Movement. • There were many other artists influenced by the PRB including, • John Brett, who was influenced by John Ruskin, • Arthur Hughes, a successful artist best known for April Love, • Henry Wallis, an artist who is best known for The Death of Chatterton (1856) and The Stonebreaker (1858), • William Dyce, who influenced the Pre-Raphaelites and whose Pegwell Bay is untypical but the most Pre-Raphaelite in style of his works. -
Art Collectors in Colonial Victoria 1854 - 1892
ART COLLECTORS IN COLONIAL VICTORIA 1854 - 1892 : AN ANALYSIS OF TASTE AND PATRONAGE. Gerard Vaughan B.A. Honours Thesis 1976 Volume I. TABLE OF CONTENTS VOLUME 1 Introduction i - v Chapter 1 The Loan Exhibitions before 1880 1- 8 Chapter 11 The Taste for Prints 9 - 11 Chapter 111 The Collectors 12-47 Chapter 1V Collectors and the International 48 - 51 Exhibitions - A Resume Chapter V The Interest in Foreign Art 52-62 Chapter V1 The Dealers 63 - 78 Conclusion 79 - 82 VOLUME 11 Footnotes - Introduction Chapter 1 1- 4 Chapter 11 5- 7 Chapter 111 8-24 Chapter 1V 25-26 Chapter V 27 - 30 Chapter Vi and conclusion 31-37 Appendix A Holdings of Major Art Collections 38-59 Appendix B Furniture and Sculpture 60-62 Appendix C List of Illustrations 63 - 66 Appendix D A Note on Picture Galleries 67 Appendix E Patrons of Melbourne Artists in 68 - 86 the 1880s VOLUME 111 Illustrations ART.COLLECTORS IN COLONIAL VICTORIA 1854-1892; an analysis of taste and patronage. INTRODUCTION My examination of the holdings of private art collections in Victoria before 1892 is confined to British and European art. It was to Britain that taste was oriented, and the emerging group of Australian painters made little impact upon those patrons and collectors recognized as being the cultural leaders of the community. It would have been difficult to incorporate my research on collectors of Australian art in an essay of this length. I have therefore confined myself to a number of general observations set out in Appendix E. These may be useful in better understanding a part of the background against which British and European art was collected. -
QUEENSLAND CULTURAL CENTRE Conservation Management Plan
QUEENSLAND CULTURAL CENTRE Conservation Management Plan JUNE 2017 Queensland Cultural Centre Conservation Management Plan A report for Arts Queensland June 2017 © Conrad Gargett 2017 Contents Introduction 1 Aims 1 Method and approach 2 Study area 2 Supporting documentation 3 Terms and definitions 3 Authorship 4 Abbreviations 4 Chronology 5 1 South Brisbane–historical overview 7 Indigenous occupation 7 Penal settlement 8 Early development: 1842–50 8 Losing the initiative: 1850–60 9 A residential sector: 1860–1880 10 The boom period: 1880–1900 11 Decline of the south bank: 1900–1970s 13 2 A cultural centre for Queensland 15 Proposals for a cultural centre: 1880s–1960s 15 A new art gallery 17 Site selection and planning—a new art gallery 18 The competition 19 The Gibson design 20 Re-emergence of a cultural centre scheme 21 3 Design and construction 25 Management and oversight of the project 25 Site acquisition 26 Design approach 27 Design framework 29 Construction 32 Costing and funding the project 33 Jubilee Fountain 34 Shared facilities 35 The Queensland Cultural Centre—a signature project 36 4 Landscape 37 Alterations to the landscape 41 External artworks 42 Cultural Forecourt 43 5 Art Gallery 49 Design and planning 51 A temporary home for the Art Gallery 51 Opening 54 The Art Gallery in operation 54 Alterations 58 Auditorium (The Edge) 61 6 Performing Arts Centre 65 Planning the performing arts centre 66 Construction and design 69 Opening 76 Alterations to QPAC 79 Performing Arts Centre in use 80 7 Queensland Museum 87 Geological Garden -
Queensland Art Gallery Board of Trustees Annual Report 2011–12 Report of the Queensland Art Gallery Board of Trustees
QUEENSLAND ART GALLERY BOARD OF TRUSTEES ANNUAL REPORT 2011–12 REPORT OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES 16 October 2012 The Honourable Ros Bates, MP Minister for Science, Information Technology, Innovation and the Arts Level 5, Executive Building 100 George Street BRISBANE QLD 4000 Dear Minister I am pleased to present the Annual Report 2011–12 and financial statements for the Queensland Art Gallery Board of Trustees. I certify that this annual report complies with: • the prescribed requirements of the Financial Accountability Act 2009 and the Financial and Performance Management Standard 2009, and • the detailed requirements set out in the Annual Report requirements for Queensland Government agencies. A checklist outlining the annual reporting requirements can be accessed online at www.qagoma.qld.gov.au/about_us/annual_reports. Yours sincerely, Professor Susan Street Chair, Queensland Art Gallery Board of Trustees CONTENTS 04 INTRODUCTION 04 Vision 04 Purpose 04 Queensland Art Gallery | Gallery of Modern Art 06 CHAIR'S OVERVIEW 08 BACKGROUND 08 Government objectives 08 Strategic plan 2011–16 09 Operational plan 2011–12 10 OUTCOMES 10 Collection development 21 New audiences 25 Visitor experience 32 Acquisitions 82 Exhibitions 102 Performance measures 103 Statistical summary 104 FiNANCIAL SUMMARY & STATEMENTS 104 Financial summary 2011–12 104 Budget versus actual results 106 Financial statements 2011–12 126 Certification of the financial statements 127 Independent auditor’s report 130 PrOPOSED FOrwARD OPERATIONS 130 Strategic plan 2012–17 131 Operational plan 2012–13 132 GOVERNANCE 132 Management and structure 138 Compliance 138 Human resources 139 Operations 140 GLOSSARY 141 FEEDBACK FORM 04 Queensland Art Gallery Board of Trustees Annual Report 2011–12 INTRODUCTION INTRODUCTION Vision Increased quality of life for all Queenslanders through enhanced access to, and understanding and enjoyment of, the visual arts, and the assurance of Queensland’s reputation as a culturally dynamic state. -
Report of the Queensland Art Gallery Board of Trustees
REPORT OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES 16 September 2009 The Honourable Anna Bligh, MP Premier of Queensland and Minister for the Arts PO Box 15185 City East Qld 4002 Dear Premier I am pleased to present the Annual Report 2008–09 for the Queensland Art Gallery. I certify that this Annual Report complies with: • the prescribed requirements of the Financial Accountability and Audit Act 1977 and the Financial Management Standard 1997, and • the detailed requirements set out in the Annual Reporting Guidelines for Queensland Government Agencies. A checklist outlining the annual reporting requirements can be accessed at www.qag.qld.gov.au. Yours sincerely Professor John Hay, AC Chair, Board of Trustees GALLERY PROFILE QUEENSLAND ART GALLERY ANNUAL REPORT 2008–09 3 CONTENTS COVER 5 GALLERY PROFILE Works from Ah Xian’s ‘Metaphysica’ series 2007 in ‘The China Project’ at GoMA. With the generosity of Tim Fairfax, AM, a group of six of 6 HIGHLIGHTS AND ACHIEVEMENTS the sculptures was acquired for the Collection. The ‘Metaphysica’ series was loaned by the artist for 9 CHAIR’S OVERVIEW ‘The China Project’. Ah Xian ‘Metaphysica’ series (detail) 2007 13 DIRECTOR’S OVERVIEW Bronze and brass 36 sculptures: dimensions variable 16 2008–09 — CONNECTING ART AND PEOPLE OPPOSITE Installation view of 17 TWO SITES, ONE VISION acquisitions in GoMA. Foreground: Tobias Putrih 21 CULTURAL TOURISM Connection 2004 Cardboard boxes 25 COLLECTION DEVELOPMENT Purchased 2008 with funds from Tim Fairfax, AM, through the 33 ACCESSIBILITY AND EDUCATION Queensland